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Patiño’s movie is a unique and fragile creation, a documentary-style display that utilizes amateur actors to explore the Buddhist idea of “Samsara” – the cycle of life, death, and rebirth. Set in both Laos and Zanzibar, it exudes a sense of mystery and tranquility, with a touch of whimsy and playfulness. Like many serious films, it is best appreciated with a sense of humor, as Graham Greene once said that it was the only thing that helped him believe in God. Some may find it a little absurd or patronizing, wondering if it was intended for audiences in Laos and Zanzibar or simply made for Western film enthusiasts. However, there is a charming and sincere quality to it, perhaps influenced by Thai director Apichatpong Weerasethakul.
Mon, an elderly woman in Laos, is on her deathbed. Amid, a young man, reads to her from the Tibetan Book of the Dead as she expresses her desire to be reborn as an animal. This is not meant to be seen as a downgrade in the spiritual sense, but rather a reflection of how poorly animals are treated by humans. Eventually, Mon passes away and her soul travels to the bardo, the transitional state between death and rebirth. She is then reborn as a goat named Neema in Zanzibar.
In addition, the movie prompts us to “observe” it during a 10-minute transitional period between Laos and Zanzibar with our eyes closed, experiencing the abstract movements and bursts of light and color through our eyelids. It is fascinating, yet slightly unsettling, as it is not entirely obvious when this segment ends and we can open our eyes again. This could be likened to listening to a new piece of music with your hands covering your ears, perceiving muffled sounds in an impressionistic manner. However, the daydream-like state it induces is enjoyable; I was reminded of sunbathing as a child.
The concept of metempsychosis is also explored in this film, as seen in Lisandro Alonso’s oddity Eureka. However, in this film, the transition between soul-states is more intricate and the emphasis on the characters’ childlike state is not as strong. It is always intriguing when a movie prompts its viewers to contemplate the taboo topic of death, without relying on the usual emotions of sorrow and acceptance. The tone of the film is crucial. Amid, a Laotian boy, befriends local monks dressed in orange robes and takes them on a boat ride to Kuang Si waterfall, a place of both physical beauty and spiritual importance (although it is also a popular tourist spot, which may not be apparent in the film). While there, one monk drifts off to sleep and wakes up to find himself alone. In a playful manner, Amid pulls a harmless prank on him – reminiscent of the overall tone of the “eyes wide shut” section or the film itself, which still strives to capture a glimpse of the sublime.
Source: theguardian.com
